Museum Folkwang
Overtime
  • Peter Halley
  • Overtime, 1997

  • Acrylic, day-glo Acrylic & Roll-aTex on Canvas
  • 182,9 x 238 cm
  • Inv. G 546
  • CommentaryIn his painting, Halley extends the formal repertoire of Concrete Art to achieve a new type of objectivity. In doing so, he goes far beyond the Postmodern ›Neo-Geo‹ style of the 1980’s. His paintings aim neither at depicting the visible world nor – like in, for example, Abstract Expressionism – romanticising or mystifying it; at the same time they seek to be more that ›abstract‹. Halley therefore links concrete pictorial forms with real appearances.
    Inevitably we recognize urban and technical reality in his paintings, an increasing rationalization of life through communication systems, computers and automation. Halley developed an abstract formal vocabulary that recalls circuit board designs, pipes and cables, cells and cabins; a reading suggested by the titles. Just as architecture and building estates are bound and defined by pipes, cables, wires, steps, grills etc., Halley binds abstract forms into multifaceted and ambiguous systems.
    Often Halley extends the geometric structures pointing beyond the canvas into large format wall coverings, using garish Day-Glo paints and wallpaper which are then covered in diagrams or images.
  • Provenance1999, Galerie Rafael Jablonka, Köln
  • Obj_Id: 3,306
  • Obj_Internet_S: ja
  • Obj_Ownership_S (Verantw):Painting, Sculpture, Media Art
  • Obj_SpareNField01_N (Verantw): 187
  • Obj_Creditline_S: Gemäldesammlung
  • Obj_Title1_S: Overtime
  • Obj_Title2_S:
  • Obj_PartDescription_S (Titelerg):
  • Obj_SpareMField01_M (Alle Titel): Overtime Overtime Verlängerung
  • Obj_Dating_S: 1997
  • Jahr von: 1,997
  • Jahr bis: 1,997
  • Obj_IdentNr_S: G 546
  • Obj_IdentNrSort_S: G 0546
  • Obj_Classification_S (Objtyp): Painting
  • Obj_Crate_S: 182,9 x 238 cm
  • Obj_Material_S: Acrylic, day-glo Acrylic & Roll-aTex on Canvas
  • Obj_Technique_S:
  • Obj_SpareSField01_S (Mat./Tech.): Acrylic, day-glo Acrylic & Roll-aTex on Canvas
  • Obj_AccNote_S (Erwerb):
  • Obj_PermanentLocation_S (Standort): Internal Exhibition: Sammlung 20. und 21. Jahrhundert, Neubau
  • Obj_Condition1_S (Druckerei):
  • Obj_Condition2_S (Auflage):
  • Obj_Subtype_S (Genre):
  • Obj_Rights_S: © Peter Halley
Commentary
Artists
Provenance

In his painting, Halley extends the formal repertoire of Concrete Art to achieve a new type of objectivity. In doing so, he goes far beyond the Postmodern ›Neo-Geo‹ style of the 1980’s. His paintings aim neither at depicting the visible world nor – like in, for example, Abstract Expressionism – romanticising or mystifying it; at the same time they seek to be more that ›abstract‹. Halley therefore links concrete pictorial forms with real appearances.
Inevitably we recognize urban and technical reality in his paintings, an increasing rationalization of life through communication systems, computers and automation. Halley developed an abstract formal vocabulary that recalls circuit board designs, pipes and cables, cells and cabins; a reading suggested by the titles. Just as architecture and building estates are bound and defined by pipes, cables, wires, steps, grills etc., Halley binds abstract forms into multifaceted and ambiguous systems.
Often Halley extends the geometric structures pointing beyond the canvas into large format wall coverings, using garish Day-Glo paints and wallpaper which are then covered in diagrams or images.